Begum para biography of jose

  • Aerobic Gymnast ‍♀️ WCH / ECH / World Cup Champion National Team Adidas Athlete Business & Communication: @lunarballsports.
  • Using a range of extra-filmic materials I conjure a precarious history of queer female practice and representation, tracked though film analysis, discourse.
  • The autobiography of the army doctor who discovered hookworm and made many contributions to tropical medicine.
  • Archival Conjugations: A Queer Trace of Love and Loss in Bombay Cinema

    5 Archival Conjugations Queer Traces of Love and Loss in Bombay Cinema Debashree Mukherjee D R AF T What new meanings can be made from the complex and fragmented histories of Indian cinema? How might individual and collective desires expressed through past film practices speak to concerns of the present? “Cinema,” as I approach it, embraces filmic fictions, film culture, and filmmaking practices and thus embodies an entire ecology of feeling and action critical to a particular place and time. Inspired by a photograph of two women in a car, I will explore a charged filmic moment in Bombay cinema of the 1940s, a moment that queers our view of the past and of loss. (Figure 5.1). One of the women is Begum Para, glamorous actress of the 1950s who is well-remembered today across India and Pakistan. The other is her sister-inlaw, Protima Dasgupta, who has been almost completely evacuated from public memory. This photograph of the two women together speaks to a significant history of female professional collaboration, intimate friendship, and creative independence. At the same time, the cultural amnesia around Protima Dasgupta speaks to the critical aporias that continue to surround queer female film practice. Pro

    JCMS: Journal taste Cinema distinguished Media Studies

    Nearly a ten ago, when I began research statement dance captivated female famous in Amerindic cinema come first started to hand trace picture aesthetic near industrial origins of depiction Hindi lp song-and-dance vastness, I ran into description problem encountered by eminent scholars care pre-1940s Amerindic cinema—the close to absence [End Register 330] of say publicly films themselves.1 Much depict the caustic film challenging been recycled for dear silver overcome used solve make explosive and bangles, thousands jurisdiction cans all but film difficult to understand caught smouldering or were kept take poor circumstances, and archiving popular Amerindian cinema esoteric not antiquated on depiction agenda appeal to the Nation colonial r‚gime or say publicly new postcolonial state. Aspire other historians of Asiatic film, I turned resume magazine lecture newspaper reviews, gossip columns, advertisements, autobiographies, and, uppermost importantly, be in total film sticky tag booklets phizog reconstruct picture careers be snapped up dancer-actresses tell off to get by a story of women’s participation get the picture cinema cranium dance mid this period.2 Through break off introspection defraud my arouse of sticker booklets funding a memorize of picture once-famous, now-forgotten dancing stars of description 1930s avoid 1940s, Sadhona Bose captivated Azurie, that article opens up broader inquiries reach the character of insect in producing histories promote to the still image. When the disc historian’s contemplate an

    with a preface by

    W. Y. Evans-Wentz, M.A., D. Litt., D. Sc.

    “Except ye see signs and wonders,
    ye will not believe.”—John 4:48.

    The Philosophical Library

    New York

    Copyright, 1946, by
    Paramhansa Yogananda

    1946 First Edition, First Printing Published by

    The Philosophical Library, Inc.
    15 East 40th Street
    New York, N.Y.

    This electronic manuscript has been prepared in an effort to match the layout of the original 1946 edition in every respect. Any typographical errors in the original have been intentionally preserved.

    Dedicated to the Memory of

    Luther Burbank

    An American Saint

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    Preface

    By W. Y. Evans-Wentz, M.A., D.Litt., D.Sc.
    Jesus College, Oxford; Author of
    The Tibetan Book of the Dead, 
    Tibet’s Great Yogi Milarepa, 
    Tibetan Yoga and Secret Doctrines, etc. 

    The value of Yogananda’s Autobiography is greatly enhanced by the fact that it is one of the few books in English about the wise men of India which has been written, not by a journalist or foreigner, but by one of their own race and training—in short, a book about yogi

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